London in the mid 50s. Three thieves have plotted a bank robbery. They slip into the building expecting to find it empty but two of the staff have stayed late and in order to keep them out of the way the robbers tie and gag them, then lock them away in the bank's strongroom -- that's a "vault" to you and me.A long weekend lies ahead. There isn't enough air to sustain two captives in the air tight vault.To ensure the rescue of the captives before their oxygen runs out, one of the thieves is detailed to drive the bank manager's car to a distant phone booth, call the police, tip them to the situation, and tell them the keys to the vault will be found in the phone booth. The police will then retrieve the keys, release the two captives, and no murder charge will be hanging like a black cloud over the miscreants.Well, these three crooks are no brighter than they have to be. The guy with the keys, the one driving the manager's car, totals the vehicle and is killed before he can make the call, which is very foolish of him. It leaves the two remaining thieves in an uncomfortable situation. If they don't release the captives, they'll die. But they don't have the keys to the vault because the dead man had the keys in his pocket. A visit to the mortuary and a threat of violence to the coroner do them no good. It's Friday afternoon, and nobody will be at the bank until Tuesday, by which time the two captives will no longer need air.I think that's about as far as I'll go with the plot. It's not an unfamiliar narrative, either in feature films or television series, but the reason it's familiar is that it works. It's innately suspenseful. Will they get the two innocents out alive? And if they do, what will it cost them. Meanwhile the clock is ticking.It's an inexpensive film. Sometimes I could almost believe they had only one set and just rearranged the furniture. The acting is at about the same level as an ordinary person might achieve with one or two days' tutoring. I've given better performances myself, most notably in the undersung art house classic "Traxx." It's true. I was the drunken cowboy in the whorehouse. My kid was the little Oriental boy who was startled by a door being burst open. Two of the performers do stand out, though. The head honcho of the gang of three is a young man with a most peculiar face -- not ugly, just unusual. You'll see what I mean if you watch the movie. The other memorable character is the blond secretary who is locked away with the manager in the bank's vault. She has an attractive face, although it consists mostly of nose.There's nothing outstanding about the movie. The narrative works because it's irresistible, but the performances are about what you'd find in a high school play in East Orange, New Jersey. Well, there are some grace notes. A cleaning lady hums a snatch from a Beethoven symphony as she mops the floor. Note, in particular, the coroner or whatever he is. The guy huffs and blubbers his way through a tense scene, and he's hilariously bad. The investigating detective is given the best line of dialog. When the mortician complains that one of the thieves threatened to kill him in an argument about the keys, the policeman gets to ask, "Well, did he?"

I first read about this film about fifteen years ago, but it never seems to have had a release on the home video market, and it's taken until now before I finally was able to catch one of its rare outings on television.Considering it was a low budget affair made over fifty years ago, I thought it stood up very well as a tight drama and it managed to hold my interest throughout. But let me be clear: there are no big action scenes, no explosions, no car chases or bouts of fisticuffs in this crime thriller. There's no big crowd scenes and there's not even any incidental music. This is a film which succeeds through its sheer good telling of a story, through good characters, a strong cast and a clever, gradual cranking up of the tension from the very start to the very finish.The plot is relatively simple: Three crooks (played by Derren Nesbitt, Keith Faulkner and Morgan Sheppard) realise their plan to rob the local bank. To give themselves the best chance of getting far away before the alarm can be raised, they strike just as the bank is about to close up on a Friday evening leading into a holiday weekend where the business isn't due to re-open until the following Tuesday. Hoping to catch the bank manager (Colin Gordon) alone, they have little choice but to execute their plan whilst another staff member (Ann Lynn) is also working late.Their meticulously-planned scheme works perfectly – almost. Although they get away with the money, an unexpected event means that the crooks have to lock the bank manager and his female assistant into the bank vault (the 'strongroom' of the title) in order to evade immediate detection.Both the prisoners and the crooks subsequently realise that the air in the sealed vault will be exhausted well in advance of the bank's scheduled re-opening for business. What follows then is a grim tale of humanity as the prisoners desperately seek a way out of their predicament and the crooks have to wrestle with their own consciences as precious time ticks away.Nesbitt steals the show as the driving force of the villainous trio, a charismatic man who sees himself more as a roguish Robin Hood figure than a genuinely evil person and who meets resistance from his fellow conspirators when he suggests they risk their liberty and their newly acquired riches in order to go back and save the two bank employees from suffocating.Another highlight is Colin Gordon's performance as the bank manager, a rather stuffy and professional man whom the situation forces to open up to his younger female colleague and also lumbers him with the unwelcome responsibility of trying to play the hero.The juxtaposition of scenes of desperate plight with others depicting authority figures dallying and dithering plays out like a grim, serious version of Robb Wilton's famous 'fire station' comedy sketch and serves to maintain the tension while the plight of the bank robbers also takes some unexpected twists and turns. Even the very climax has one last crucial contribution to make.Yes, there are a few things in the film which don't make too much sense. Could Nesbitt's character really not call the police to tip them off that there were people trapped in the vault? Or could he have called somebody else and told them if he was worried about the police tracing the call?But when the end product is so good, I'm prepared to overlook a few shortcomings. Laced with lots of cameos by some of the best character actors of the day, Strongroom is a stark reminder to modern filmmakers that you don't have to be spectacular to succeed with your audience. I'm so glad this film was let out for air and wasn't kept locked away in a vault where nobody would ever find it again!

This crime or film noir from the golden days of British film-making (Yes, the '50's/'60's B-flicks), proves good plot and script, however lesser-known a movie is, is still effective even today.The two crooks, played by Nesbitt and Faulkner and another hold up a bank - they're not vicious in any real way, however wrong they are. The stuffy bank Manager, Colin Gordon and his secretary played by Ann Lynn are locked in the 'Strongroom' or vault if you want to call it that, by the two crooks, with the intent that they will hand the keys in at a police station and let the cops know the two bank workers are in there - all the time running out of air - but that's excused as it's done and dusted, isn't it, that they will soon be released? Wrong! Faulkner's brother, also a member of the gang is tasked with this - he's seen driving off to do just that, but of course - he has an accident and dies! Faulkner and Nesbitt receive a knock on the door from the police - unknowing of what's happened at this stage, panicking slightly. But then the news of Faulkner's brother's death is given. A little panic of both his brother's death and what'll happen to the bank workers by Faulkner surfaces but he knows he has to keep his mouth shut.Faulkner has tried to retrieve his brother's belongings angrily as he's promptly told by the police the dead brother's items can't be returned not for weeks - which of course includes the Strongroom keys! The remaining duo decide to get hold of the usual bank busting equipment, Oxycetelene gear etc., and try their best to break through to the suffocating bank workers. In the meantime, an astute person has noted that part of the dead brother's belongings are a Strongroom key, after Faulkner's rantings lead them to suspect something was wrong.The police then hurry to the bank after contacting an experienced locksmith as to what bank/door it belongs to.They're about to make their pinch, when the boys tell them that they're trying to free the workers. Reluctant at first, they understand and let them continue - they get the door open - a huge look of relief from them is shown at what appears as the very last scene but at this point their relief is shattered as a police officer states :'This one is DEAD sir!' The look from Nesbitt and Faulkner sums up the impending doom for the pair, as hanging is still a capital offence at that time in the UK. However, it beckons from us up to and after the credits still a legal position that they may get a manslaughter charge - but the film doesn't give them the chance they thought they had.Excellent and good performances all round and sadly not shown enough.

i came across this old gem a couple of years back and taped it off the t.v. It's an old black and white bank robbery film. The robbers plan a one-off bank robbery, but it doesn't quite go to plan after they lock two hostages in a safe. Their guilty consciences get the better of them, and they return to the scene. Simple, exciting tale that i can watch time and again.